News Release

Total Page:16

File Type:pdf, Size:1020Kb

News Release Research Express@NCKU - News Release Research Express@NCKU Volume 9 Issue 2 - June 5, 2009 [ http://research.ncku.edu.tw/re/news/e/20090605/2.html ] Passion for Kunqu among NCKU Faculty, Students, and Southern Taiwan Residents Wang Chi Professor, Department of History National Cheng Kung University Due to NCKU Art Center's endeavor, NCKU was chosen as the only southern Taiwan venue for the Bringing Kunqu (崑曲) into Campus Series Events facilitated by Prof. Kenneth Hsien-yung Pai (白先勇). Prof. Pai, who studied for one year in the Department of Hydraulic Engineering at NCKU, admitted in public occasions without hesitation that he personally favors NCKU. In fact, when the 2005-6 youth version of The Peony Pavilion (牡丹亭) was performed in Taiwan, NCKU was also the venue of their southern Taiwan performance and it was also organized by the NCKU Art Center. At that time, Prof. Pai was highly impressed by the Art Center's efforts leading to the supreme success of that performance, hence contributed to their choosing NCKU as the site for this even larger scale campus promotion event this time. NCKU President Michael Ming-Chiao Lai (right) NCKU SEVP Da Hsuan Feng (middle) and The and Prof. Kenneth Hsien-yung Pai (left) Secretary General Woei-Shyan Lee (left) sent a NCKU landmark Banyan Garden souvenir to Prof. Pai (right) Except for the performance of Romance of the West Chamber (西廂記), Lankeshan (爛柯山) and The Jade Hairpin (玉簪記) on the 28 th, 29th and 30th of May, 2009, respectively, there were another four live demonstration sessions of The Beauty of Kunqu by Mainland's elite professional Kunqu and guqin (古琴) maestros, which were: Liang Guying (梁谷音) on The Beauty of Kunqu and Romance of the West Chamber on May 11th, Cai Zhengren (蔡正仁) and Zhang Jingxian (張靜嫻) on The Palace of Eternal Youth (長生殿) on May 15th, Prof. Li Xiangting (李祥霆) of Central Conservatory of Music illustrated the guqin "Jiu Xiao Huan Pei (九霄環佩)", meaning the ninth heaven jade ornament literally, on May 18 th. Played by Prof. Li, this 1,253-year old Tang Dynasty guqin impressed and intrigued the hundreds audience. They all felt happy that guqin, after Kunqu, is also proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO. The last seminar on the beauty of Kunqu was on May 20th, where famous Kunqu performers Zhang Jiqing (張繼青) and Yao Jikun (姚繼焜), a married couple, talked about the famous Kun opera play Lankeshan, with, of course, exquisite singing and acting. 1 of 4 Research Express@NCKU - News Release Author of this article, Prof. Wang Chi of Elite professional guqin player Prof. Li Xiangting Department of History, NCKU (standing) played the legendary Tang Dynasty guqin Jiu Xiao Huan Pei The youth version Kunqu plays, facilitated by Prof. Pai, all cast younger new performers taught by prominent Kunqu maestros. The masters have shared all their expertise to these students. During their lectures, they expressed their wishes for the audience to encourage their students. The genuine love and bond between the masters and students moved the full house audience to applaud from time to time. We hence firmly believe that the once faded Kunqu, summoned by the cross strait culture maestro Pai and having been adjusted accordingly to contemporary tastes and preferences, not only has it won sponsorship and support from the concerned people among the Chinese worldwide, the Mainland Kunqu theaters have also been infused with new vitality. When all forces are accumulated to a common goal, Kunqu is recognized by people. We can tell from the response of high school and university students who attended the lectures and performances, there is no doubt that Kunqu has won the young audience's love. This can also be concluded from the questionnaires conducted by the NCKU Art Center to the audience. Most of the audience responded that it was their first time to appreciate a Kun opera, and the performance tremendously exceeded their expectation. Mr. Cai Shaohua (蔡少華), Head of the Suzhou Kun Opera Company (蘇州崑劇院), also the leader of the Suzhou Kun Opera's Taiwan Tour, has praised for several times during the NCKU performance period that the audience are of high caliber. The scene of an orderly lining up audience with tickets in their hands waiting to enter the theater two hours before the show especially impressed him. It rained heavily before the 3rd day's performance of The Jade Hairpin; not being disturbed, the audience just put An orderly audience waited to enter the theater on their raincoats or opened their umbrellas, remaining waiting quietly. Mr. Cai was further moved when he saw the audience without tickets waiting patiently in line in front of the vacancy board, waiting for available seats and be led into the theater by the crew. The audience's orderliness impressed these Mainland visitors and made NCKU faculty proud. The NCKU Art Center is ten years old now. Having been organizing major art performance events for years, the staff members have accumulated abundant experiences. By their careful plan, the large audience can enter the theater smoothly, efficiently, orderly, and patiently wait for the show to begin. The audience applauded heartedly after each act. At the end of the performance, they stood up for several minutes, yelled and applauded passionately to show their sincere respect and love for the performers. Especially when Prof. Pai stepped on the stage and led the performers to thank the audience, the interaction among performers 2 of 4 Research Express@NCKU - News Release and audience reached climax. After the end of the show, a lot of audience asked Prof. Pai to sign on his books. They also asked when the next performance would be. Seeing the audience's passion for the Kunqu, the NCKU Art Center staff negotiated with Director Cai of Suzhou Kun Opera Company that once they are invited to Taiwan, they must notify the Art Center, and the Center will try every possible means or to collaborate with the Tainan City Government to bring the "origin of all theaters" Kun opera, which includes music, dance, elegant colored stage scenes, and poetic lines to more Tainan City residents. Prof. Pai led the performers to thank the audience Charmed by the Kun opera, the audience passionately applauded and stood up to show their love and respect for the performers Kunqu -- Origin of all theaters 3 of 4 Research Express@NCKU - News Release Photos: NCKU Art Center Translated by Helen Chang The Banyan Editorial Office 4 of 4.
Recommended publications
  • Globalization and Theater Spectacles in Asia
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun.
    [Show full text]
  • SILK ROAD: the Silk Road
    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
    [Show full text]
  • Recent Publications in Music 2010
    Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A.
    [Show full text]
  • TV Show Knows What's in Your Fridge Is Food for Thought
    16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings.
    [Show full text]
  • Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin
    time and becoming the main character in the ancient Friday, May 23, 2014 story – Du Li-Niang. The performance features 8:00 p.m., Concert Hall Carleton College superstar Kunqu Opera actress Shen Yi-Li from Carleton Choir Concert Shanghai, accompanied by top professional performers Something Like A Star of Chinese traditional instruments. The first half of Lawrence Burnett, conductor the evening includes live music accompanying the Julian Pozniak, student conductor Music at application of makeup that transforms the actress into Qiao Xiao-Qin. This provides the audience a rare Lawrence Burnett conducts a program of choral opportunity to view live on stage this amazing makeup favorites on the theme of earth and sky. Senior process that is such an important part of Chinese music major Julian Pozniak conducts Vivaldi’s traditional opera. Gloria to culminate his years of musical leadership Carleton in the choral ensembles. Co - Sponsored by the Department of Asian Studies, the Office of the Director of Arts, and the Department Spring 2014 of Music Wednesday, May 28, 2014 7:00 p.m., Concert Hall Sunday, April 27, 2014 Saturday, April 5, 2014 7:30 p.m., Concert Hall Piano Studios Recital 2:20 – 3:00 p.m., Mall of America - Nicola Melville, coordinator Sears Rotunda Guest Artist Concert Mass Appeal 7th Annual A Passage to China: Thursday, May 29, 2014 Music of East Asia I Cantanti Chamber Choirs, Wayne Kivell, conductor 12:10 p.m., Concert Hall Chinese Music Ensemble, Student Chamber Music Recital I Gao Hong, director The concert features settings of the modern Mass, all Nicola Melville, coordinator Carleton Singers, composed in the last 50 years.
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • Kunqu Opera in the Last Hundred Years in China
    Review of Educational Theory | Volume 02 | Issue 04 | October 2019 Review of Educational Theory https://ojs.bilpublishing.com/index.php/ret REVIEW Kunqu Opera in the Last Hundred Years in China Yue Wang* The University of Milan, Milan, 20122, Italy ARTICLE INFO ABSTRACT Article history Kunqu, literally means kun melody, is one of the most ancient forms of Received: 26 September 2019 Chinese opera. Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before, Revised: 15 October 2019 now Kunqu also known as Kunju, which means Kunqu opera. This paper Accepted: 21 October 2019 mainly focuses on the development of Kunqu in the past 100 years and the Published Online: 31 October 2019 influence of historical social and humanistic changes behind the special era on Kunqu, and compares the attitudes of scholars of different schools Keywords: of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu. Kunqu Last hundred years Development Inuence 1. Introduction opera have been developed on the basis of Kunqu. It is the most complete type of drama in the history of Chinese The original name of Kunqu is “tune of KunShan”, is opera, the biggest feature is the lyrical and delicate move- the ancient Chinese opera intonation type of drama, now ments, the combination of singing and dancing is inge- known as the “Kun drama”. Originated from the Yuan nious and harmonious ,in the costumes and make-up, the Dynasty (the middle of the 14th century), it’s a traditional generals have various kinds of costumes, the civil servants Chinese culture and art of the Han ethnic group.
    [Show full text]
  • Centre of Chinese Studies
    the centre includes over 40 members of staff whose interests span both historical and contemporary Chinese studies Centre of Chinese Studies ANNUAL REVIEW ISSUE 4: September 2012 - September 2013 LETTER FROM THE CHAIR SOAS UNIVERSITY OF LONDON L ooking back on the past year, 2012- 2013 has been an eventful and fruitful academic year for the Centre of Chinese Studies (CCS). The Centre’s regular seminar series covered a wide range of topics from literature and arts in imperial China to family and reform in the contemporary PRC, with eminent speakers coming from within the UK and also international scholars from Europe, Asia, and North America. These seminars filled the lecture room G50 with lively discussions on Chinese studies on many Monday evenings. This year’s CCS Annual Lecture was delivered by Professor Stephen H. West (Foundation Professor of Chinese at Arizona State University and formerly Louis Agassiz Professor of Chinese at UC Berkeley) on the topic of “The Burdens of Happiness: Zhu Changwen’s Garden of Joy”. In addition, the Centre also organised a SOAS Masterclass SOAS, University of London is the only STUDYING AT SOAS for MA and PhD students, several book Higher Education institution in Europe CONTENTS launches, and an exhibition on “The Great specialising in the study of Asia, Africa and The international environment and Wall Photographs”. More information about the Near and Middle East. cosmopolitan character of the School make these and other CCS events and activities student life a challenging, rewarding and 3 Letter from the Chair can be found in the following pages.
    [Show full text]
  • Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts
    Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia.
    [Show full text]
  • Marjorie Chan's C5474. Chinese Opera (Autumn Semester 2014)
    Chinese 5474. Chinese Opera SPRING SEMESTER 2020 Chinese 5474 CHINESE OPERA Professor Marjorie K.M. Chan Dept. of East Asian Langs. & Lits. The Ohio State University Columbus, OH 43210 U.S.A. _____________________________________________________________________________________________________________________________________________________________________ COURSE: Chinese 5474. Chinese Opera Class No. & Credit Hours: 27974 G 3 credits Class No. & Credit Hours: 28041 UG 3 credits Prerequisites: No prerequisites DAY & TIME M 2:15 - 5:00 p.m. PLACE: 042 Hagerty Hall (1775 College Road) OFFICE HOURS: R 1:30 - 3:30 p.m., or by appointment Office: 362 Hagerty Hall (1775 College Road) Tel: 614.292.3619 (Dept.: 614.292.5816) E-mail: chan.9 osu.edu HOME PAGE: http://u.osu.edu/chan.9/ COURSE PAGE: http://u.osu.edu/chan.9/c5474/ _____________________________________________________________________________________________________________________________________________________________________ TEXTBOOKS Two textbooks (Chen 2014, Shi 2014) are required, both available in Kindle edition. The other four textbooks, in hardcopy, are placed on Reserve at Thompson Library. (Additional copies are also available from the instructor.) 1. Chen, Rong. 2014. Qin Xianglian: A Beijing Opera. Beijing: Foreign Language Teaching and Research Press. [Part of the series, The Project for Disseminating Chinese Operatic Dramas Overseas by Renmin U. of China.] (Kindle edition, $3.99, from amazon.com) REQUIRED. 2. Shi, Yili. 2014. The Legend of Liang Shanbo and Zhu Yingtai: A Yueju Opera. Beijing: Foreign Language Teaching and Research Press. [Part of the series, The Project for Disseminating Chinese Operatic Dramas Overseas by Renmin University of China.] (Kindle edition, $2.15, from amazon.com; Chinese title but content displayed is identical to the $9.99 copy). REQUIRED. 3.
    [Show full text]
  • Guqin and Guzheng: the Historical and Contemporary Development of Two Chinese Musical Instruments
    Durham E-Theses Guqin and Guzheng: the historical and contemporary development of two Chinese musical instruments Gaywood, Harriet Rosemary Ann How to cite: Gaywood, Harriet Rosemary Ann (1996) Guqin and Guzheng: the historical and contemporary development of two Chinese musical instruments, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4894/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Guqin and Guzheng: the Historical and Contemporary Development of Two Cliinese Musical Instruments. I declare that this work is my own and does not contain any material from unacknowledged sources. Harriet Rosemary Ann Gaywood 8th January 1997 Guqin and Guzheng: the Historical and Contemporary Development of Two Chinese Musical Instruments. MA by thesis Harriet Rosemary Ann Gaywood The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged.
    [Show full text]
  • Quantum Leap Silk Virtual Instrument Manual
    Quantum Leap Silk Virtual Instrument Users’ Manual QUANTUM LEAP SILK VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep- resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. © East West Sounds, Inc., 2009. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] http://support.soundsonline.com ii QUANTUM LEAP SILK VIRTUAL INSTRUMENT 1. Welcome 2 About EastWest 3 Producer: Nick Phoenix 4 Credits 5 How to Use This and the Other Manuals 5 Using the Adobe Acrobat Features 5 The Master Navigation Document 6 Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 QUANTUM LEAP SILK VIRTUAL INSTRUMENT Welcome About EastWest EastWest (www.soundsonline.com) has been dedicated to perpetual innovation and un- compromising quality, setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual (software) Instruments. Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name.
    [Show full text]